The filmmaker speaks to Vogue about the similarities between archaeology and filmmaking, why she suspects Federico Fellini had grave-robber friends, and the old man she divined inside of rising star Josh O’Connor.
Among the film critics I most respect and admire, one name instills a kind of enraptured reverence: Alice . That’s acclaimed filmmaker Alice Rohrwacher, whose bracing works frequently evoke fables and fairy tales, often rely on nonprofessional actors, and explore themes of time, memory, history, and loss. Her four features since 2011 have all debuted at Cannes, where she served on the jury in 2019 .
I was looking for a much older actor because I thought a character so nostalgic and a prisoner of such sadness needed to be a lot older, with a long past behind them. But Josh reached out to me. He wrote a letter—he says he actually wrote many before that one—that I finally received at my parents’ house. He asked to meet because he had really liked Happy as Lazzaro. When we met, I had this evident feeling that even though he was a young man, there was something very old inside him.
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